Summary of Chicano and Hispanic theatre
Hispanic Theatre:
Hispanic Theatre flourishing was inevitable due to the fast-growing Spanish-speaking population. The first recorded performance was in 1567, it reflected Hispanic conquest which was not on military but religious. This was used as a tool to educate native populations about Christianity. Hispanic Theatre has scarce documentation because it was not appreciated. Chicano Theatre, Cuban-American theatre, and Nuyorican are the three parts of the movement. Chicano has a mix of English and Spanish (Spanglish), Cuban-American had predominately Spanish and Nuyorican depended heavily on English.
Mexican-American:
Mexican Americans continued to live as they have been before. The period between 1845 and 1875 is characterized as the continuation of the colonial culture because of it. Almost all of the theatrical activity focused on biblical narratives and were performed by amateurs with the supervision of priests. In the late 1940's, plays usually performed during Christmas and Easter were commonly performed in every town settled by the Spanish. The most popular were Las Pastorelas by Ruben M. Campa. Although pieces were changed, many aspects remained the same. Songs were an important part and improvisation continued to be frequent. Improvisation caused many changes, however, because no scene was the exact same.
Theatre was exclusively an amateur activity, there was a strong emphasis on religious subjects and there is little that reflect Mexican culture. From the 1870s to the 1920s, an increasing number of troupes performed in the United States. Records of the touring troupes are scarce. After 1910, new immigrants impacted the small Mexican-American community. It made the community more Mexican than American. The amateur production of religious plays continued to attract audiences showed the strong efficacy of drama reserving the values of Mexican-Americans. Mexican-American theatre and Chicano Theatre are similar. They both were an amateur, improvised, and concerned rhetorical effect.
Puerto Rican Theatre on the Mainland:
Puerto Rican theatre is a vibrant byproduct of oppression in which they lived through in Urban Communities. It was common for most to travel to the United States for economic opportunities in order to return their homeland to live more comfortably. Their theatre serves to reinforce cultural links between life in the urban ghetto and in Puerto Rico. Their style is totally organic, it comes to life anywhere and defines and enriches what it means to be a Puerto Rican. They have established a theatrical tradition that spread and promoted Catholic doctrine. Another tradition was made in New York. Golden Age and contemporary Spanish plays had a predominately Spanish audience. Lofts, cafes, churches etc. are typical spaces used. Traveling enabled them to incorporate street life and native culture. The actors tended to speak to the audience and incorporate them into the action. Since 1965 developments were acknowledged and Puerto Rican Theatre was promising. Nuyoricans hold the key to shaping the new theatre that fully expresses there ethnic themes.
Hispanic Theatre:
Hispanic Theatre flourishing was inevitable due to the fast-growing Spanish-speaking population. The first recorded performance was in 1567, it reflected Hispanic conquest which was not on military but religious. This was used as a tool to educate native populations about Christianity. Hispanic Theatre has scarce documentation because it was not appreciated. Chicano Theatre, Cuban-American theatre, and Nuyorican are the three parts of the movement. Chicano has a mix of English and Spanish (Spanglish), Cuban-American had predominately Spanish and Nuyorican depended heavily on English.
Mexican-American:
Mexican Americans continued to live as they have been before. The period between 1845 and 1875 is characterized as the continuation of the colonial culture because of it. Almost all of the theatrical activity focused on biblical narratives and were performed by amateurs with the supervision of priests. In the late 1940's, plays usually performed during Christmas and Easter were commonly performed in every town settled by the Spanish. The most popular were Las Pastorelas by Ruben M. Campa. Although pieces were changed, many aspects remained the same. Songs were an important part and improvisation continued to be frequent. Improvisation caused many changes, however, because no scene was the exact same.
Theatre was exclusively an amateur activity, there was a strong emphasis on religious subjects and there is little that reflect Mexican culture. From the 1870s to the 1920s, an increasing number of troupes performed in the United States. Records of the touring troupes are scarce. After 1910, new immigrants impacted the small Mexican-American community. It made the community more Mexican than American. The amateur production of religious plays continued to attract audiences showed the strong efficacy of drama reserving the values of Mexican-Americans. Mexican-American theatre and Chicano Theatre are similar. They both were an amateur, improvised, and concerned rhetorical effect.
Puerto Rican Theatre on the Mainland:
Puerto Rican theatre is a vibrant byproduct of oppression in which they lived through in Urban Communities. It was common for most to travel to the United States for economic opportunities in order to return their homeland to live more comfortably. Their theatre serves to reinforce cultural links between life in the urban ghetto and in Puerto Rico. Their style is totally organic, it comes to life anywhere and defines and enriches what it means to be a Puerto Rican. They have established a theatrical tradition that spread and promoted Catholic doctrine. Another tradition was made in New York. Golden Age and contemporary Spanish plays had a predominately Spanish audience. Lofts, cafes, churches etc. are typical spaces used. Traveling enabled them to incorporate street life and native culture. The actors tended to speak to the audience and incorporate them into the action. Since 1965 developments were acknowledged and Puerto Rican Theatre was promising. Nuyoricans hold the key to shaping the new theatre that fully expresses there ethnic themes.